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Greetings, Decibel readers!

It’s a week for reflection, experimentation and exploring, as today’s new releases show a wealth of creative minds taking their sounds in all different directions. Although black metal and death metal are now long-established styles of extremity, there’s still room for maneuver for bands willing to be bold while still retaining what makes those styles compelling and exciting (and without simply “breaking new ground“).

Check it out.

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Astriferous – Atavistic Unraveling

The Costa Rica-based outfit’s followup to 2023’s nightmarish Pulsations from the Black Orb sees them further hone and perfect their atmospheric take on terrifying death metal. Astriferous plays their music like an orchestra from hell, filling the gallery with towering guitars, devastating rhythms, and ground-quaking vocals. There’s touches of dissonant vibes present on this album, but the band is so good at keeping the music in a certain groove that the sound avoids some of the pitfalls of similar bands. Pay attention for some moments that recall Forulas-era Morbid Angel and Close to a World Below-era Immolation that peek out from behind the curtain.

Stream: Apple Music

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Deathspiral Of Inherited Suffering, Elysian Blaze, Panegyrist, and Maerund – Sunthema

An absolutely stacked split of four amazing bands. Although I’m most familiar with Panegyrist and can readily vouch for them, there’s a lot to discover in the death metal of Deathspiral of Inherited Suffering; the melodic atmosphere of Elysian Blaze; and the epic, death-rock-tinged chaos of Maerund.

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Mortiis – Ghosts of Europa

The long-storied artist returns with a reflective and moody album that has one foot in 80s post-punk, and another in 90s electronica. Think of it as Pure Moods for goth kids. But don’t get me wrong, there’s still moments that recall the ancient days of Mortiss’ dungeon-synth past, like “Transcending Morpheus,” and moments where things pick up like the dance-able “Tundra, Heart of Hell.”

Stream: Apple Music

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THÆTAS – The Irredeemable Age

I really like what these guys are doing. Although THÆTAS definitely makes brutal death metal and delivers all the goods in that way, they’re bold enough to experiment with eerie soundscapes and unexpected flourishes that set them apart from the endless hordes of palm-muted gurglers. Think of Dying Fetus and Misery Index in collaboration with Immolation and Demilich.

Stream: Apple Music

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Vafurlogi – Gneisti af eldi Guðs 

Melodic, entrancing black metal from Iceland. Definitely essential listening for anyone looking for a though-provoking take on the sound, one that strongly recalls Memoria Vetusta-style Blut Aus Nord and perhaps bits of Windir and latter-day Enslaved.

Stream: Apple Music

The post Five For Friday: June 26, 2026 appeared first on Decibel Magazine.

Ice Nine Kills have continued their streak of perfect collaborations, this time teaming up with iconic horror game Dead By Daylight.

As well as crafting a song about the games’ universe, the band are also playable characters in the game. That means you can be Spencer, but you can also be the Silence killer. Does it get much cooler than that?

And when it comes to the song, it is classic INK splatter. Guttural metalcore boosts, soaring melodies and plenty of intricate easter eggs to be found within.

And if that wasn’t enough, the band have also welcomed a few more famous faces into their ever-expanding cinematic universe, mainly Tony Hawk. Devin Sawa and Krsy Fox, the former two very much a part of horror history.

Spencer had this to say about everything wonderful that they have created here:

Ice Nine Kills has always lived somewhere between menace and mischief. ‘Play Dead,’ our take on Dead by Daylight, is a collision of hooks, horror, and total chaos. As lifelong horror fans, we find it surreal and an absolute honour to have Ice Nine Kills’ music officially tied to Terrifier, Scream, Ready or Not, and now, the iconic survival horror game Dead by Daylight.

“Collaborating with Dead by Daylight gave us the chance to step into a world that feels deeply aligned with our creative instincts. The game has an incredible legacy, and that chaotic, eerie, immersive energy is something we respect and admire. We wanted the song to feel like a real extension of that universe, not just inspired by it, but genuinely part of it.

“We worked closely with longtime composer Michel F. April to ensure every detail, from the atmosphere to the intensity, felt true to the game, and we spent time on set with Dead by Daylight creatives Mathieu Cote and Eric Pope, as well as player experts like SpookyLoopz.

“The video also features iconic genre star Devon Sawa. He’s one of my favorite actors, from Idle Hands and Final Destination to literally playing “Stan” in the Eminem video. And we’ve got Krsy Fox, one of the new modern horror scream queens, who not only had a showstopping performance in Terrifier 3, but is a kickass indie horror film producer, too.

“Having Tony Hawk appear with us felt essential because he isn’t just the Michael Jordan of skateboarding. He’s synonymous with the marriage of music, gaming, and subculture. We bonded over the same offbeat pop-culture touchstones, from punk rock to the irreverent ’80s comedies like The Naked Gun that shaped my brain just as much as horror did.

“And of course, Dingbar Tarbani slithered in to make things even stranger.”

Get stuck in.

The track follows on from the band’s last two collaborations, sitting on either side of their sound.

There is ‘Twisting The Knife’, which was crafted for Scream 7:

And ‘Hell Or High Slaughter’, delivered by alter-egos Grave Diggler, and playing a part in Ready or Not 2:

The post Ice Nine Kills Pay Tribute To Dead By Daylight With Vicious New Track ‘Play Dead’ appeared first on Rock Sound.

Five Finger Death Punch celebrates 20 years with its new album “Legacy,” featuring “Eye of the Storm,” “De Oppresso Liber,” and a summer U.S. tour.

The post Five Finger Death Punch Marks 20 Years With New Album, ‘Legacy’ appeared first on Audio Ink Radio.

Jae Matthews and Augustus Muller, aka Boy Harsher, are back with a new single, “Jeans,” and it makes me want to go to the mall and do a makeover montage like in nearly every ’80s film. It’s a hairsprayed new wave track that reflects on giving up glam and rock ’n’ roll for small-town freedom.

The post Boy Harsher – “Jeans” appeared first on Stereogum.

With their highly anticipated second album slowly being unveiled and a brand-new single landing today, we caught up with London-based alternative rock trio Teiger to talk about their diverse backgrounds, varied musical influences, East German drum gear, and… fire alarms! Simple things first – where are you guys from? Jon is the only original (ish) … Continue reading Headline Act – Teiger

Earlier this week, elder rap hedonist made his first appearance in our Number Ones column. It won’t be his last. Future has been making an impact on popular music for a very, very long time. His first #1 hit was also his 125th chart hit on the Hot 100. He’s a defining generational star. A couple of years ago, he helped ignite the Drake/Kendrick Lamar beef when Kendrick launched his opening volley on the Future/Metro Boomin collab “Like That.” A few months ago, old collaborators Future and Drake reunited on Drake’s #2 hit “Ran To Atlanta.” Future simply continues to float above the fray, and now he’s got a new album on the way.

The post Future Announces New Album <em>The Real Me</em>: Hear “Radio” appeared first on Stereogum.

Platinum-certified metalcore outfit I Prevail has returned with a new single, “Paradise”, featuring Los Angeles-based nu-metal and alternative rock artist Amira Elfeky.

The collaboration pairs I Prevail‘s modern metalcore sound with Elfeky‘s dark, atmospheric style, resulting in a track that expands the band’s evolving approach while staying rooted in heavy music.

Speaking about how the collaboration developed, I Prevail said: “We’ve been fans of Amira for a while. She has such a distinct sound and style. The opportunity to write together came up super organically and we instantly connected on this crazy concept for a song. We all saw the vision for it almost right away. That’s a rare and beautiful thing when it happens. We still don’t think we know exactly what we made. We never had to stop to think about it. We just made it.”

The official video for “Paradise” was directed by Orie McGinness, whose previous work includes videos for Bad Omensand Poppy. The clip is available now alongside the single.

The post I PREVAIL Shares Latest Single “Paradise” Featuring AMIRA ELFEKY appeared first on Sonic Perspectives.

Mortiis has cut a swath through Norway’s music scene since 1992, beginning as the inaugural bassist for black metal pioneers Emperor. When Håvard “Mortiis” Ellefsen realized the blackened arts weren’t for him, he swapped his bass guitar for a keyboard and embarked on a journey that, six years and six full-length albums later, left him a progenitor and “Godfather” of dungeon synth. Over the following vicennial, Mortiis explored other musical outlets, from darkened synth-pop to industrial rock and murky ambient before returning to his dungeon synth roots with 2020’s Spirit of Rebellion. After revisiting the genre he helped found, Mortiis releases his 11th full-length album, Ghosts of Europa—in part shaped by a subsequently abandoned collaboration with Stephan Groth (Apoptygma Berzerk)—to pay homage to old German electronica, especially Tangerine Dream and Klaus Schulze. Mortiis took those early recordings and embarked on a six-year journey to transform them into Ghosts of Europa. Will Ghosts serve as the harbinger of Mortiis’s greatness, or be cursed to haunt the darkened shadows of Norwegian mediocrity?

Ghosts of Europa is sexy, spacy, and cinematic—a synth-forward record that draws from each of Mortiis’s electronic eras—moving from dungeon scenes to movie screens. Those familiar with Tangerine Dream’s ’80s “soundtrack” era,¹ will feel that theatrical presence, in addition to early Enigma, Pink Floyd, and Dead Can Dance, in the windswept, dystopian synthscapes and expansive, Gregorian chant-inspired, Middle Eastern-influenced female wails of Ghosts’ more ambient moments (“Return to the Old Fields,” “Transcending Morpheus,” “Tribes of Dystopia”). When Ghosts of Europa shifts to straightforward, beat-driven electronics (“Ghosts of Europa,” ² “Violent Silence”) it taps a Depeche Mode and Kraftwerk vein. Still, other Mortiis Era II specters haunt Ghosts’ halls on tracks like “Tundra, Heart of Hell,” an electro-rocker that channels She Wants Revenge and The Cult, just as “Farewell Romero” has a distinct Marilyn Manson feel to its slow, painful burn. Mortiis has reached the peak of his musical prowess, wielding a conductor’s control over his collaborators and delivering one of his most emotive albums.

Heaving with atmosphere, Ghosts of Europa punctuates its vast, sweeping sonicscapes with rich vocal textures and introspective lyrics. From the repetitive refrain “When we all fall down” that dominates the opening title track to the chorus on “The Faith That Fades Away” requesting “Leave me with my sins, leave me with my thoughts,” and on through “Farewell Romero”‘s painful admission “I found a way to kill some of the pain, like a warm and cleansing summer rain,” Ghosts’ lyrics serve as an apology to the relationships Mortiis admittedly damaged along the way.³ And to further execute his no-boundaries vision, Mortiis focused on vocal arrangements in a way he hasn’t on previous efforts, partnering with a cast ranging from Sarah Jezebel Deva (Cradle of Filth) and Illiana Tsakirake (Septicflesh) to Christopher Rakkestad (Elvarhøi, Bolverk) and Skinny Puppy’s Matthew Setzer,⁴ who join him and, along with a vocoder and some autotune modulation, cement completely the otherworldly experience Ghosts of Europa provides.

Effortlessly flowing and expertly paced, Ghosts of Europa is permeated with a laid-back melancholy, allowing Mortiis to undulate easily between extended ambient moments and more traditional synth-pop. This ebb and flow effectively renders Ghosts of Europa’s fifty-plus-minute runtime into something that feels much shorter. As with any great film, Ghosts of Europa begs to be heard in its linear totality, rather than having any of its constituent parts relegated to a cannibalized playlist, despite some of its more traditional moments being ripe for such compartmentalization. Mortiis has provided an experience akin to getting lost in any of his early, Era I dungeon albums, if that sparks you, but with dialogue and an impactfully matured, image-conjuring vivacity. I repeatedly found myself easily lost in the Neverending Story-like feel of Mortiis’s conjuration, enamored with every moment. My one critique is reserved for the album’s editing, which could easily be attributed to the product of the promo, but rests with the abrupt and awkward resolution of some of the tracks (“The Faith That Fades Away,” “Tundra, Heart of Hell,” and “Farewell, Romero”). Not nearly enough to ruin the experience, but worth mentioning.

I have never felt FOMO for missing out on Mortiis’s back catalog. I’m not particularly fond of dungeon synth as a genre, and took minuscule note of Mortiis’s shift into more traditional territory nearly 26 years ago. I was very drawn, however, to the stark cover art of Ghosts of Europa and the soul-syncing feel of the album’s title track. The door I walked through after listening to the whole thing converted me. Ghosts of Europa has earned my highest rating this year to date, and I can only recommend that you all give it a chance as well.

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Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Webstore
Releases Worldwide: June 26th, 2026

The post Mortiis – Ghosts of Europa Review appeared first on Angry Metal Guy.

Euro Kiosk comes out of Aarau sounding as if Switzerland finally got sick of being treated as a pretty postcard and decided to answer back with bass, groove, and a sly little grin. The project fits into the Swiss wave and post-punk scene, yet with its debut EP’s title track, Temptations, it exudes a relaxed, effortless vibe—like a laid-back 90s attitude, knowing the club is open, and the Kirchwasser is flowing.

The rhythm section locks into Motorik patience, the steady forward shove of a train you cannot quite afford to miss. Over it, the bass runs in hot pursuit, clipped and wiry, while the guitars bring in the jangly UK aftertaste without turning into a museum of record-collector references. Joy Division hangs in the architecture, Grauzone in the steel, Kleenex in the nerve endings, and Le Tigre or Sneaks in the dry, funky snap of the attitude. Beaks hover nearby too, with post-punk pulled through a colder, more contemporary room.

Euro Kiosk sidesteps the usual gray-coat solemnity by actually letting the body into the room. The groove slouches, stretches, and smirks, carrying a devil-may-care looseness that feels faintly stoned but never sloppy. The funk element never begs for attention. It leans against the wall, insolent and spare, moving the hips while the song stares out at a continent broken into payment plans, border controls, military budgets, ad feeds, and panic sold back to the people as lifestyle.

That name starts to bite harder the longer the music plays. A kiosk sells the small consumable comforts of a collapsing age: coffee, tobacco, magazines, lottery tickets, chewing gum, and some bright wrapper to hold while the institutions rot. Euro Kiosk turns that little commercial booth into a psychic checkpoint, a place where anxiety and consumerism meet under fluorescent light and call themselves civilization.

Temptations carries a little shoegaze haze at the edges, enough darkwave frost in the air, and a post-punk frame built for motion. It slides into the groove without making a speech about it.

Listen to the single below, and order the EP here

Follow Euro Kiosk: 

• Bandcamp
• Website
• TikTok
• Instagram

The post Swiss Wave Project Euro Kiosk Opens for Business With Debut “Temptations” appeared first on Post-Punk.com.

Posted on June 26th 2026, 4:35pm